The project directly refers to Love Parade (1917), a painting by Francis Picabia, a French dadaist, and attempts to reprocess its main motive. The title hints at eroticism whereas the painting itself depicts a mechanism, which invites a great deal of interpretations. Ewa and Jacek Doroszenko, acting as an artistic duet, transpose the intercourse of the machines as painted by the dadaist onto cardboard, to present it in a larger, spatial scale. The complex love structure has been analysed and rebuilt from scratch to form an expanding installation including antagonist male and female elements. Similarly to the previous works of the artists, the abstract representation of a mechanical love act is enriched with sound, which constitutes an ironic commentary on Picabia's painting.